Trained Performances of Love and Cruelty Between Species

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Notes

¹ See Hearne (1986) for a discussion of animal training and philosophy, and see Stokes (2004) for a recent critique of the lion act in circus.

² Derrida (2004) posits that humans should see animals as they present themselves to be seen rather than framed as cultural metaphors. See Acampora (2006) for a discussion of cross-species somaticity, and Tait (2005) for a discussion of visceral and sensory responses to circus.

³ See, for example, Tait (2002) for a discussion of performed embodied emotions in theatre and of distinctions between felt and performed emotions; Baines and Lepecki (2007) for discussion about the senses in performance; Damasio (2003) for ideas of the physiology of emotions infl uenced by culture; and Bekoff (2007) for summaries of studies of emotions in animals.

⁴ A photograph of Captain Bonavita carrying a lion may mean that Bonavita developed this feat in association with Frank Bostock (Bostock 1903).

⁵ Court's act was also performed at London's Agricultural Hall prior to this and then at Manchester's Belle Vue, and Glasgow's Kelvin Hall (Court: 1954: 137; Jamieson 1998: 48).

⁶ Dick Clemens was twice attacked by a lion he had bottle-fed, but this occurred during a mating season (Henderson 1951: 43).